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Azerbaijani
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English
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Mugams
There are seven main modes and three auxiliary
modes in Azerbaijan Mugam
Main modes
Rast
Rast mode is the first mode of main modes which kept its base and
root, unchanged its function during the historical period of development. So, rast
mugam based on this mode is called “mother of mugams”. Rast mode consists of
1+1+0.5 tone, which is created in three tetra-chords in the result of amalgamation of
reach method of the first main tetra-chord
Relay membranes in Rast are:
IV membrane-Maye
VI membrane-Huseyni
VII membrane-Vilayati
VIII membrane-Shikasteyi-fars
IX membrane-Erag
Departments of Rast are: Bardasht (with Novruzu-Ravanda), Maye, Ushshag, Huseyni,
Vilayati, Dilkesh, Kurdu, Shikasteyi-fars (Khojasta), Erag, Penjgah, Rak-Khorasani,
Gerai, space for Rast. Literaryly, Rast creates courage and cheerfulness at listener.
Other mugams relating to the Rast are: Mahur, Mahur-Hindi, Orta Mahur, BayatyGajar, Gatar.
Shur
Shur is the second mode and consists of 1-0.5-1 tone, which is created in
the result of amalgamation of three tetra-chords with reach method of the first tetrachord.
Relay membranes in Shur are:
III membrane-Main background
IV membrane-Maye
VI membrane-Zaminkhara
Shur mode is the most used mode in Ashyg art.
Departments of Shur are: Bardasht, Maye, Salmak, Shur-Shahnaz, Busalik, BayatyTurk, Shikasteyi-Fars, Mubarriga, Ashiran, Semai-Shams, Hijaz, Shakh Khatai,
Sarenj, Gemengiz, Nishibi-Feraz, space for Shur.
Shur creates merry feelings at listener.
Mugams relating to the Shur are: Shahnaz, Sarenj, Arazbary, Osmani, Rahab, Neva.
Segah
Segah is the third mode and consists of 0.5-1-1 tone which is created
in amalgamation of three tetra-chords with the reach method.
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Relay membranes in Segah are:
II membrane-Main background
IV membrane-Maye
VI membrane-Shikasteyi-fars
Departments of Segah are: Zabul-Segah-Bardasht, Maye, Muya, Manandi-Mukhalif,
Segah, high-pitched tone Zabul, Manandi-Hisar (in high-pitched tone), ManandiMukhalif (in high-pitched tone), Ashig-Kush, Mubarriga, Zabul, space for Segah.
Kharij Segah-Bardasht, Maye, Takhtigah, Mubarriga, Manandi-Hisar, ManandiMukhalif, high-pitched tone Segah, space for Kharij Segah.
Segah mugam creates love, lyrical feelings at listener.
Mugams relating to Segah are:
Hashym Segah-sol
Kharij Segah-si
Mirza-Huseyn-lya
Orta Segah-mi
Zabul Segah
Shushtar
Shushtar is the fourth and the smallest mode according to its amount
of sounds. Sound line is created in amalgamation of two tetra-chords with different
method. It has eight membranes and consists of 0.5-1-0.5 tone. In Shushtar mode the
third membrane is the completive tone, the fourth membrane is Maye. It creates
deeply sad feelings at listener.
Departments of Shushtar are: Amiri, Shushtar, Masnavi, Movlavi, Tarkib, space for
Shushtar.
Relating mugams to the Shushtar are: Ovshary, Heydari.
Chahargah
Chahargah is the fifth and the longest mode according to the amount
of sounds. It consists of eleven membranes. Three tetra-chords are amalgamated with
two methods. The first and the second tetra-chords are amalgamated with the first
method. The second and the third tetra-chords are amalgamated with different method.
Tetra-chords are 0.5+1.5+0.5 tone structural.
Chahargah mode is represented in two kinds in Uzeyir Hajibeyov’s composition.
Relay membranes in Chahargah are:
IV membrane-Maye
VI membrane-is the relay membrane of Basta-Nigar department
IX membrane-Hisar
It creates at listener excitement and passion. Departments of Chahargah are: Bardasht,
Maye, Bali-Kabutar, Djovhari, Basta-Nigar, Hisar, Mualif, Garra, Mukhalif, Ouj
Mukhalif, Maghlub, Mansuriyya, Uzzal, space for Chahargah.
Bayaty-Shiraz
Bayaty-Shiraz is the sixth mode and consists of 1-1-0.5 tone, which is
created in amalgamation of two tetra-chords with the third method. It consists of nine
membranes. There passes membrane among the tetra-chords.
Relay membranes in Bayaty-Shiraz are:
II membrane-Bayaty-Isfahan
IV membrane-expresses Maye
It creates sad feelings at listener. Departments of Bayaty-Shiraz are: Bardasht,
Isfahanak, Maye, Gardaniyye, Nishibi-Faraz, Bayaty-Isfahan, Khums-Ravan, highptched tone Bayaty-Shiraz, Abulchap, Khaveran, Uzzal, Shikasteyi-Fars, Dilruba,
space.
Humayun
Humayun is the seventh mode and consists of 0.5+1.5+0.5 tone, which is
created in amalgamation of two tetra-chords with the fourth method.
It is able to get sound line of Shushtar mode by changing the tetra-chords’ places in
Humayun mode. So, these two modes’ structures are close to each other. It creates
deeply sad feelings at listener. Departments of Humayun are: Bardasht, Humayun,
Baxtiyari, Feili, Boyuk Masnavi, Movlavi, Shushtar, Tarkib, Uzzal or Bidad, Kichik
Masnavi, space.
Auxiliary modes
There are three additional modes in Azerbaijan music except the main modes. These
are: Shahnaz, Sarenj and the II class Chahargah.
The II class Chahargah
It is created when 0.5+1.5+0.5 tone structural tetra-chord is amalgamated with
1+1+0.5 tone structural tetra-chord with different method
Shahnaz
It is created in amalgamation of 1+1+0.5 tone structural tetra-chord with 0.5+1.5+0.5
tone structural tetra-chord with different method.
Sarenj
It is created in amalgamation of 0.5+1.5+0.5 tone structural tetra-chord with 1+1+0.5
tone structural tetra-chord with different method. Unlike Chahargah in Sarenj 0.5 tone
appears between two tetra-chords.
There are also small sized and zarbi mugams in Azerbaijan
Small sized Mugams
Bayaty-Kurd
Bayaty-Kurd, Kerkuki, Bayaty-Ajem, space (ayag).
Mahur-Hindi
Bardasht (with Novruzu-Ajem), Maye, Buzurk, space for Ushshag, Huseyni, Vilayeti,
Shikasteyi-Fars, Mubarriga, Erag, Gerai or Rar-Abdulla, space (ayag).
Bayaty-Gajar
Bardasht, Maye, Huseyni, Shikasteyi-Fars, Mubarriga, high-pitched tone BayatyGajar, Dugah, Ruhul-Ervah, Zaminkhara, Maverennahr, Shah-Khatai, space (ayag).
Shahnaz
Shahnaz, Dilkesh (Shahnaz-Khara), Kurdu, high-pitched tone Shahnaz, Azerbaijan
Rahab
Bardasht, Amiri, Rahab, Boyuk Masihi, Shikasteyi-Fars, Mubarriga, Erag, Gerai,
Kichik Masihi, space (ayag).
Gatar
Gatar, low-pitched tone Gatar, high-pitched tone Gatar, space (ayag).
Orta Mahur
Bardasht (Rizan), Huseyni, low-pitched tone Maye, Mahur, space for Ushshag, highpitched tone Huseyni, Vilayeti, Shikasteyi-Fars, Mubarriga, Ashiran, space (ayag).
Zarbi mugams
1.Osmani-Shur
2.Ovshary-Shushtar
3.Heydari-Shushtar
4.Kesme Shikasta-Segah
5.Simai-Shams-Shur
6.Mansuriyya-Chahargah
7.Garabagh shikastasi-Segah
8.Arazbary-Shur
Mugam terms
*Tasnif-national rhythmic melody
*Dastgah-logistic development under organized totality of all departments, branches,
corners, rangs and tasnifs concerned to mugam
*Rang-rhythmical music
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